A COGNITIVE STUDY OF METAPHORICAL MEANINGS OF BASIC COLOR TERMS IN UZBEK AND CHINESE

174 A COGNITIVE STUDY OF METAPHORICAL MEANINGS OF BASIC COLOR TERMS IN UZBEK AND CHINESE Liu Likun, Lecturer, Changji College, Xinjiang Email: [email protected] Abstract Metaphorical cognition of color is an important cognitive tool for human beings in understanding the world. This paper conducts a comparative study of the metaphorical cognition of basic color terms in Uzbek and Chinese. By examining the relationship between metaphorical cognition of basic color terms and linguisticcultural models, as well as their similarities and differences, the study aims to deepen the understanding of metaphorical cognition of basic color terms. Keywords: Uzbek language, Chinese language, basic color terms, metaphor, cognition. The renowned linguist Chen Wangdao, in Rhetoric, defined metaphor as the process whereby ―when the object of thought shares similarities with another entity, in speech or writing one employs the latter to compare with the former.‖ He further pointed out that metaphor is a deeper form of simile: while similes take the form ―A is like B,‖ metaphors take the form ―A is B.‖ Similes express a relation of resemblance, whereas metaphors establish a relation of identity. Traditionally, metaphor was regarded merely as a rhetorical phenomenon. However, American cognitive linguists George Lakoff and Mark Johnson argue that metaphor is not only a rhetorical device but also a universal cognitive mechanism and mode of thinking. They define metaphor as ―understanding and experiencing one kind of thing in terms of another.‖ Metaphor involves a mapping from a source domain to a target domain, which enables one conceptual domain to be structured and interpreted in terms of another. When basic categories of color are used to express or interpret concepts in other domains, a system of metaphorical cognition of color emerges. Two fundamental conditions underlie such metaphorical constructions: semantic conflict and psychological similarity. For example, when ―red‖ is used to describe a person (as in the Chinese expression hongren, ―a favored or fortunate individual‖), a semantic conflict arises because people are not inherently associated with color. However, psychological similarity emerges in the shared positive imagery of joy, popularity, or success. Thus, metaphorical cognition and cultural models are closely intertwined, with differences in cultural and historical background shaping the metaphorical uses of color in different languages. This paper attempts a comparative analysis of metaphorical cognition in basic color terms in Uzbek and Chinese, with the aim of identifying both similarities and differences. 1. Black (qora) 175 The color black is naturally associated with the night, which often evokes mystery or fear. In both Uzbek and Chinese, black metaphorically refers to mystery, illegality, or evil. For example:  qora bozor — black market  qora ro‘yxat — blacklist  qora yurak — black-hearted (cruel)  qora niyatlar — malicious intentions  qora xat — bad news  qora ish — drudgery, hard labor However, differences also exist. Chinese has unique metaphorical usages absent in Uzbek, such as:  heimǎ (黑马, ―black horse‖) — an unexpected winner  hùkǒu hēi (黑户, ―black household‖) — an unregistered resident  hēishèhuì (黑社会, ―black society‖) — organized crime  hēi shào (黑哨, ―black whistle‖) — biased referee  hēi méiguī (黑玫瑰, ―black rose‖) — a beautiful woman with dark skin Conversely, Uzbek includes meanings absent in Chinese, such as:  qora qum — vast desert (black as a metaphor for immensity)  qora xalq — ordinary people, often uneducated masses  baxti qora odam — an unfortunate person  oq bilan qorani ajrata olmaydi — unable to distinguish right from wrong Here, black may also symbolize authority, especially in contrast to white. 2. White (oq) White, associated with snow, clouds, or jade, often conveys purity, simplicity, and brightness. Both Uzbek and Chinese share metaphorical uses such as:  oq she‘r — blank verse  oq qog‘oz — white paper (official report)  oq suv — pure water  oq ariq — clear channel  oq yo‘l bo‘lsin — safe journey Chinese also extends white metaphorically in unique ways, often pejorative:  báidīng (白丁) — illiterate person  báiyǎn (白眼) — disdainful glance  báichī báihē (白吃白喝) — freeloading  báimiàn shūshēng (白面书生) — bookish but inexperienced scholar In Uzbek, oq metaphorically conveys goodness, sincerity, and loyalty, reflecting the cultural significance of dairy products (white milk as a symbol of purity):  oq ko‘ngil odam — kind-hearted person Yet oq can also bear negative connotations, such as curse or rejection:  oq qilmoq — to curse one’s child  oq padar — cursed by one’s father 3. Red (qizil) Red derives from the universal prototype of ―blood,‖ but its metaphorical uses diverge culturally. In Chinese, red symbolizes joy, celebration, and beauty, e.g.: 176  hóngbǎng (红榜) — honor roll  hóngniáng (红娘) — matchmaker  kāiménhóng (开门红) — auspicious beginning  hóngyán (红颜), hóngzhuāng (红妆) — beautiful woman By contrast, in Uzbek, qizil often carries negative meanings:  qizil koʻzlar — deceiver  qizil lablar — talkative person  qizil qon odam — hot-tempered person 4. Blue (ko‘k) Blue is commonly linked with the sky. In both languages, it typically denotes its literal meaning: ko‘k ko‘ylak (blue shirt), ko‘k osmon (blue sky). However, in Uzbek, ko‘k extends to green and other shades:  ko‘k choy — green tea  osh ko‘k — edible herbs  ko‘k ot — gray horse Metaphorical uses include mourning attire (ko‘k kiymoq), or even U.S. dollars (bir pachka ko‘ki — a bundle of dollars). 5. Green (yashil) Green, derived from vegetation, metaphorically suggests youth, vitality, and renewal. In Chinese, it also carries specific cultural meanings:  dài lǜ màozi (戴绿帽子, ―to wear a green hat‖) — cuckold  lǜsè shípǐn (绿色食品) — organic/healthy food  kāi lǜdēng (开绿灯) — to give special permission These uses are absent in Uzbek. 6. Yellow (sariq) Yellow holds special cultural significance in Chinese history, symbolizing centrality, ancestry, and ethnic identity (Huánghé, Yellow River; yánhuáng zǐsūn, descendants of the Yellow Emperor). It generates expressions such as:  huángdào jí rì — auspicious day  huánghuā guīnǚ — virgin girl  huángquán — the underworld Yellow also symbolizes pornography (huáng bào, ―yellow press‖). In Uzbek, sariq matbuot refers to low-quality, sensationalist reporting, but without the same sexual connotation. Additionally, sariq metaphorically denotes smallness or insignificance, e.g.: sariq chaqa — a trivial amount of money. Human understanding of color has evolved through four stages: substituting objects for colors, comparing objects with colors, abstracting colors into symbols, and finally developing metaphorical cognition. The use of color terms metaphorically enriches perception, making cognition more vivid and precise. By comparing the metaphorical cognition of basic color terms in Uzbek and Chinese, this study enhances our understanding of the interplay between language, culture, and cognition. It also provides implications for foreign language teaching and the teaching of Chinese as a second language. Future research may extend to other color terms and their metaphorical uses across languages. 177 REFERENCES 1. Chen, W. (1932/2000). Xiuci xue fafan [An outline of rhetoric]. Shanghai: Shanghai Education Press. 2. Crystal, D. (2000). Language death. Cambridge: Cambridge University Press. 3. Kövecses, Z. (2010). Metaphor: A practical introduction (2nd ed.). Oxford: Oxford University Press. 4. 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